{"id":7234,"date":"2020-01-15T14:46:11","date_gmt":"2020-01-15T12:46:11","guid":{"rendered":"https:\/\/eero.storijapan.net\/docfolio\/?p=7234"},"modified":"2020-01-25T09:43:15","modified_gmt":"2020-01-25T07:43:15","slug":"2020115-2","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/2020115-2\/","title":{"rendered":"20200115"},"content":{"rendered":"

Polttava taide [Burning Art]<\/a> (2020) Jenni Nurmenniemi. The text is passionate and echoes a strong commitment to the development of ecologically sustainable curatorial work. Nurmenniemi wants to engage in situated and localized practices. I like the part where she underlines that environmental matters should not be addressed as a “theme” because ecologies are about relations and connections. My presentation on Land-Art Conservation at SOLU is referred, which feels nice. Towards the end of the text she brings up a Haraway-ian idea that art could serve as a compost: It returns ideas into circulation. I believe art can help in creating containers for obsolete concepts (nation state, capitalism etc.) and help in disintegrating them into less toxic models (eu, socialism etc.).<\/p>\n

But I think the process is challenging because, actual artworks have a weird relationship to the future. Many artistic gestures are imagined as eternal \u2013 Which is why they don’t make for good compost. I’m not talking about materials (Bronze or Wood). I’m talking about concepts, which I believe can be more harmful because they refuse to degrade. Concepts are zombies. I guess this idea is derived from a weird reading of Serres: He argues that objects are made to prevent social change. I don’t know if Serres views concepts as objects but I think bad habits, like eating meat, should be understood as such. The resources needed to maintain the habit rely on and bind to particular infrastructure (fossil fuels).<\/p>\n

A performance artwork is defiantly an object. It is used as such and can even be commissioned as a classical monument. Gestures, like walking on the moon make for great monuments, they align perfectly with neoliberal fantasies of future service economies (More specifically to the postwork without communism -utopia). More work should be done in developing ways to digest and compost concepts and the habits they are bind to. This might be a useful expansion to the popular process of decommissioning modern authorship. Paradoxically: The best way to compost a concept might be to make it into a object, so that it can be destroyed. I’ve tried to write about this before.. Exploring how documentation of live art, situates it and makes it conceptually malleable (less modern)<\/a>.<\/p>\n

Interestingly, if concepts can be objects then humans (with their skills) can be infrastructure! #\u0950 Makes complete sense to me.<\/p>\n","protected":false},"excerpt":{"rendered":"

Polttava taide [Burning Art] (2020) Jenni Nurmenniemi. The text is passionate and echoes a strong commitment to the development of ecologically sustainable curatorial work. Nurmenniemi wants to engage in situated and localized practices. I like the part where she underlines that environmental matters should not be addressed as a “theme” because ecologies are about relations … <\/p>\n

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